2004
AN INTERVIEW WITH
MESTRANDA EDNA LIMA
By Lydia Alicea
MARTIALFORCE.COM
Online Magazine
E
During an alumni event at my alma mata, Fordham University @ Lincoln Center in New York City, while waiting for a former classmate to arrive, I found myself inadvertently listening to a nearby conversation among two young students. I was struck by the enthusiasm of one telling the other about an upcoming class in Capoeira at the Alvin Ailey Dance Studios across the street on 61st Street. “The instructor, is Edna Lima. She is incredible!”
I recently had the fortuitous opportunity to meet a true legend, an icon of Capoeira, Mestra (Master) Edna Lima. After various discussions with Mestra Lima, and observing her Capoeira instruction class at The Alvin Ailey Dance Studios, as well as her self-defense class at Chelsea Piers in Manhattan, I was left with the perception that this was indeed a multifaceted martial artist. What impressed me about Mestra Lima was not just her many accomplishments and vast experience or knowledge, or that she is one of few high ranking female martial artists in the world today. Mestra Lima truly manifests the evolution of what Capoeira is today, what it represents to its followers as an art, and where it is headed in the future. She is nothing short of complete devotion and unending support.
About Mestra Lima
Mestra Lima’s long and illustrious career began in her native country, Brazil. Her martial arts training began at the young age of 12, first in Capoeira, and later in Japanese Karate. Her many achievements have brought her to where she is today. She currently holds the title of Mestra in Capoeira, as well as fifth dan in Shotokan. Over the years, Mestra Lima has been written about in various publications, highlighting her contributions to Capoeira as well as her many accomplishments.
To name just a few:
· First female Mestra in Capoeira Senzala.
· Gold medals from the Pan-American Karate Championships, the International Goodwill Tournaments, the US National Karate Championship, and the USA Kumite Federations National Championships.
· Black Belt Magazine’s 1991 Female Competitor of the Year.
· World Shotokan Cup Championships in Tokyo, Philadelphia, and Malaysia.
Mestra Lima has been a long-standing spokesperson for Abada Capoeira, a not-for-profit organization, with offices here in New York City. Abada Capoeira’s mission is to represent and promote the art of Capoeira worldwide, as well as continued support and development of instruction, its students, and Brazilian culture.
CAPOEIRA
The art of Capoeira’s roots have been traced back to 18th century Brazil. It evolved from the needs of its people, largely African slaves, to defend themselves against the daily threat of their oppressors, or often, the need to flee. Fundamentally, its development and practices were shrouded in secrecy and deception. Seemingly, underneath just acrobatic play and dance, against a background of song, chanting and hypnotic, pulsating rhythms, were true self-defense movements, preparedness training to be used when needed.
It is ironic that at the heart of Capoeira is its ability to disguise itself and trick its opponents. I say this because it achieves its end so well that its unique essence as a true martial art is not as recognized or as prominent among the many acknowledged arts here in the US. Why? Is it because it “appears” as strictly dance, cultist, perhaps?
Quite the contrary, it not that. It is indeed a serious martial art, a force with a repertoire of deadly fighting techniques. A true martial artist needs only to see its kicks and movements and recognize that it is the delivery, which makes Capoeira distinctively different from other arts.
It is continuous circular motion with many fakes and deceiving movements. Capoeira is usually practiced inside a circle of people called a “roda”. The participants of the circle are either observers or players (capoeiristas) waiting to join in. The momentum of play gives rise from the energy created by the clapping and singing in response to the capoeirista in charge leading its direction with the sounds of the “berimbau” which starts and stops the roda. Essential to Capoeira is the other sounds created from its distinctive instruments. They are the “agogo” (double cowbell), “pandeiro” (tambourine), and the “atabaque” (conga drum). The music creates pulses along with the singing, creating the momentum of play.
My introduction to Capoeira came one evening when I attended Mestra Lima’s instruction class. On the surface instruction appears informal, loose, and playful. Yes, but I quickly realized it is a serious martial art.
The following is my interview with Mestra Lima at the Alvin Ailey Dance Studio in Manhattan, New York:
1.MARTIAL FORCE: A day does not pass where children do not fall victim to predators. It has become increasingly apparent as in the news recently. As an instructor, where you teach children as well, how do you react to this?
EDNA LIMA: “Firstly, we must ask why a child is placed in a vulnerable situation. The first lesson in self-defense is never allow oneself to be in a potential situation. Second, when approached by a stranger she had no clue how to react... nothing at all! One must always be aware of her surroundings and in a split second, know how to react in the moment when faced with threat. If held make noise to attract attention, use your other body parts not held to kick, hit, and importantly, to pull your body downward and away from what is holding you.
2.MARTIAL FORCE: What is Capoeira’s approach to self-defense?
EDNA LIMA: “First, we need to identify what is self- defense, and what it isn’t. It is not, knowing how to fight, injure or overtake a potential predator. It is not confrontational.
Self-defense is common sense awareness of your surroundings and knowing how to react when faced with a potential confrontation.
Self-defense means knowing how to assess a situation, to observe and see if anything looks suspicious. When you know how to observe it means you are alert. Capoeira teaches you this.
In Capoeria, self-defense training begins with simply games, like tag; the objective in a game of tag is avoidance. If someone approaches you, what is the first thing you do? React! Observe how a cat reacts when you approach it. What does it do? A natural reaction, no? It lowers its center of gravity, it moves away downward.
When we hear a noise, a sudden or loud pop sound, you immediately lower your body, because it feels a little safer down there, it feels more grounded.
Therefore, as we play our tag game, we are re-enforcing a natural reaction. If you do not want someone to touch you, you just avoid with fast, sharp movements away. It may seem very simple, maybe even a silly little game, but this is critical to Capoeira and in self-defense. In addition, its basics are simply the essence of awareness.
When approached by someone, you go with a natural reaction, which is to move fast and quickly away.
You must train yourself to react, and remember, any reaction is good for you. No reaction is very bad. Therefore, from the very beginning of training, you will learn self-defense. You do not need to be strong, big, flexible, or even skilled. You just need to be centered and aware, and follow a natural reaction, to lower your center, as you go down, and move away quickly.
In Capoeira, your sense of awareness is not to block, or go into stance. It is to move away, and down.”
3.MARTIAL FORCE: Does Capoeira utilize blocks?
EDNA LIMA: “No blocks are used. Capoeira is evasion, avoidance through body movement and motion.”
4.MARTIAL FORCE: What about strikes and kicks?
EDNA LIMA: “Yes, we use open hands, elbows, back hand strikes, as well as head butt, knee and kicks. The kicks are similar to those used in karate. In fact, Capoeira uses the same exact techniques taught in karate with the difference being the set ups used when striking out. You set up your opponent with circular body movements and motion. Kicks are used to disguise actual movements, such as strikes, knee, head butts and stomps.”
5.MARTIAL FORCE: When you train in the basics, do you train from a static approach?
EDNA LIMA: “In karate, you set up first, then use static motion, or very predictable stances or moves like for competition. In Capoeria, you don’t come in a straight line, you move around, so if I have to kick you, even as you move around, you still have your arms and legs in guard. It is constant circular motion where you can strike from any position in a circle. When thinking about kicks you must first stress body motion. In Capoeira, everything is presented in constant movement. It is taught from the start. General body motion, naturally flowing.”
6.MARTIAL FORCE: When does instruction advance to another level?
EDNA LIMA: “Once a student has developed a strong sense of circular motion and can flow smoothly, continuous, and comfortably, then we can advance instruction to more of high impact, more power.
You bring back and stress to your students the element of disguise in Capoeira moves. As they are now developing more power and a variety of kicks, you encourage your students to use them as they are moving around their opponent. You may ask, why use these kicks? Remember when you read somewhere or heard it mentioned that Capoeira was disguised as a dance? Yes, those kicks, were disguising the martial art so, the intent is to deceive. As you are kicking this way, and that way, what Capoeira is really doing, is setting you up. What did they strike with? A strong head butt, or elbow. Other levels students can move onto when ready are the showy or “flamboyant” side of Capoeira, the “gymnastic” element of tumbling, flips and somersaults. The handstands, jumps, and flips are the “dessert” in Capoeira. Again, for students, they don’t have to do them, but it is just another element they can incorporate into their Capoeira.”
7.MARTIAL FORCE: Does Capoeira or its organizations have a format similar to in Karate’s for students to learn from and refer to so they may advance themselves in the style?
EDNA LIMA: “In the 1930’s, Mestre Bimba did something extremely innovative to Capoeira for that time. He essentially created the first method for studying Capoeira through a series of movements called sequencias. These were straightforward series, or sequences, of attack, defense and counter attack movements. They are taught in simple step by step form. What it did for instruction of Capoeira was provide structure, and a practical approach to present to beginners.
The beauty within this approach is while students are learning the series of movements needed, they are also conditioning and strengthening their bodies for the physical demands of Capoeira. It permits students to learn how to play with confidence. Today in 2004, with what Master Bimba developed, we are still learning from, by analyzing, practicing, and refining them. Truly, the man was ahead of his time, a genius.”
8.MARTIAL FORCE: In your organization, what are the rankings?
EDNA LIMA: “What is used in Capoeira, is comparative to other martial arts’ belt system. We use the Cord System, which represents the students rank. The cord is worn around the student’s waist like a belt.
Beginners start out with ‘Crua” no color, ecru off-white.
“Amarelo” is yellow-gold, follows about 6 months to a year as an advancing beginner. It can also be “Crua/Amarello, half off-white, or half yellow.
“Laranja” is orange, and “Amarello/Laranja” which signifies continued advancement.
“Azul” is blue, or “Azul/Verde”, is the graduated student level.
“Verde” is green, or “Verde/Roxa”, is advanced student, and considered an integral member of the group dedicated to its development. The advanced student continues to concentrate on his/her growth.
“Roxa” is red, or “Roxa/Marron”, The student level is continued support of Capoeira, growth in its knowledge and philosophy.
“Marron”is green, or “Marron/Vermelha”, Highly advanced, future ground for Mestrandos, Mestres, and Grao Mestres.
“Vermelha”, the color of ruby, signifying the capoeirista responsibility to Capoeira, to teach and make decisions with fairness.
“Vermelha/Branco”, the Mestres level.
“Branco”, white. Grao Mestre level.
Students can advance themselves to each level generally in 2 to 3 years or more. The “Batizado” is an annual event symbolizing commemoration, where students advance to their next level.”
9.MARTIAL FORCE: At what level can a student be considered an instructor?
EDNA LIMA: “Blue cord or higher. It would be equivalent to Sandan, 3rd degree in Karate. A blue cord can take 3 to 4 years of training.”
10. MARTIAL FORCE: Capoeira is so physical and in constant movement. As an instructor, do you look for any particular skill or prior training before a student commences instruction?
EDNA LIMA: “No, prior training is generally required. As with students learning other martial arts, focus, confidence, determination, and genuine interest, these are just some of the qualities students need to successfully learn Capoeira. Our system is holistic and surrounds its students with constant support from not only from its instructors, but also from the students themselves. Knowledge and information is always available. A students needs only to seek and learn.”
11. MARTIAL FORCE: Mestra Lima, you are currently a 5th degree Dan in Shotokan. With whom do you continue to train with or teach?
EDNA LIMA: “I continue to practice with Sensei Okazaki of ISKF. I teach Shotokan, its techniques and strategies, as well as a special seminar on Kumite on weekends.”
12. MARTIAL FORCE: In 2004, how large, would you estimate is Capoeira’s following?
EDNA LIMA: Globally, practitioners number over 40,000. There are schools and organizations represented in practically every corner of the world. Here in the US, it just continues to grow. It is very popular among young students.”
13. MARTIAL FORCE: Who has been your strongest influence, Mestra?
EDNA LIMA: “My mother, Lourdes, has always been there for me, supported me since I was just a very young girl growing up in Brazil. She encouraged me to learn and never be afraid to back down or give up on my dreams and aspirations, especially when you very rarely saw girls learning martial arts, let alone, Capoeira. I come from a very large family, all together 4 sisters, and 3 brothers. They have always surrounded me with the love and assurance I needed to push myself, to succeed!”
Indeed, Mestra Lima has...succeeded.
By Lydia Alicea
MARTIALFORCE.COM
Edited by:William Rivera